#monochord

[upennmanuscripts]

Today's #MusicMonday is Ms. Codex 922, which among other things includes at a treatise on music theory focusing on tonality as illustrated by the Pythagorean monochord. Illustration on f. 5r shows a conventional rudimentary diagram of a monochord.

🔗 :

[shellyreef]

Explore the fascinating world of feeltone monochords. Experience the soothing, harmonious sounds of our expertly crafted instruments, which are ideal for relaxation, meditation, and therapeutic practices. Enhance your sound healing journey with our premium monochords.

[tsatsked]

Lore details I've noticed: Silver Knot

Woah, thank you guys for over 100 likes on the Farewell Rayashki post! I've liked doing it a lot so I've decided to walk through Windsong's story too

Let's roll a spoiler warning and go right into it ⬇️

Windsong’s first name is Ekaterina :D

"Once you know every ley line by heart, you'll be able to play them like a heptachord"

Heptachord - an Ancient Greek string instrument with seven strings. Maybe a reference to Pyphagorean analogy on the universe to monochord where on ane end of the string is connecter to Spirit and another string is connected to Matter, maybe not

"Are there any projects you find particularly interesting? The one on the Kolaria Superdeep Borehole? Or maybe the Sverdlovsk rescue group?"

It seems like it is a reference to two of the coolest USSR objects of urban legends!!! I will recommend videos on those cases

Kolaria Superdeep Borehole - a reference to Kola Superdeep Borehole. The urban legend about it gained its form mostly in USA and spread in post-Soviet countries. Also, there a place called Kolaria relatively near to New Delhi, it might have something to do with Journey to Mor Pankh version 1.3 event.

A Russian video:

A video on English:

Sverdlovsk rescue group - a reference to Dyatlov pass expedition. There was a rescue operation from Sverdlovsk oblast’ just to find the expedition members dead.

VOX video (English):

Now something about Windsong's expedition no.1

Taryga - I haven’t found information about this place

Varangian - that’s how they called vikings in Kievan Rus’, and that's how Elena says how intimidating the village chief is

Shamama - the closest things I found is a Azerbaijani type of melon

Domovoy - a type of guardian home spirit in Slavic mythology, is similar to gnome and kobold by function and nature

By this info we can conclude that Tagyra village probably is on Caucasus mountains and shamamas are probably small and round

Now something about Windsong's expedition no.1

Yakutsk is somewhere here and oh boy, it’s a freezing industrial city:

Ovinnik - a guardian spirit of stored goods from Eastern Slavic mythology. By the most popular description, they look like big black cats with shining eyes and have a size of a street dog

Professor Ivanov mentions 1982, so we can conclude that it's happening in 80-90ies

Lesnaya Forest - nah, I haven’t found such a place. Maybe there a reservation called like it out there, but, for grammatical reasons, a forest cannot be called Lesnaya (it means “forest” (adjective) and the grammatical gender doesn’t match the Russian word for “forest”). There are a Lesnaya street in Yakutsk though

“It’s already October. It’s minus 30 degrees right now” — -30C° is -22F°

At the end, I haven't knew Windsong is from Transnistria AKA Pridnestrovian Moldavian Republic. The republic has a tough history with its sovereignty (a topic I don't feel qualified to speak about), so perhaps it's one of the reasons why Windsong prefers to say she's from the east side of Dnestr river

[santoschristos]

The Unveiling of Realities

1. Interdimensional Travel:

- We are on the cusp of a greater innerstanding of interdimensional travel.

Just as waves advance into the ocean of existence and recede into the invisible, our consciousness will increasingly navigate between the physical and the metaphysical realms.

This will allow us to access knowledge and experiences beyond our current comprehension.

2. Immortality Realised:

- The concept of immortality will be redefined. It’s not about living forever in a physical body but recognizing that we are already immortal beings. This profound truth has been concealed, but as we awaken, we will innerstand that our essence transcends time and space.

3. Spirit World Integration:

- The veil between the spirit world and our reality is thinning.

Many have already allowed spirits to weave their way into the mortal realm.

This integration will become more pronounced, and those with heightened intuition will witness and interact with these entities, gaining wisdom and guidance.

4. Intuitional and Spiritual Realms:

- As we develop our casual bodies and quicken our ego’s vision, we will see things as they truly are. In the spiritual world, the divine and human will unify, fulfilling the divine purpose.

This will lead to a profound sense of oneness and enlightenment.

5. Spiritual Manna:

- Higher realms of spirit life are preparing to pour down spiritual manna upon us.

This nourishment will be available as soon as we open up the conditions that render it possible.

The obstructions lie not in the spirit world but within our own mortal limitations.

6. Future Selves and Destiny:

- Our future selves are actively reshaping our destiny.

We are balancing precariously between multiple possible realities, each influenced by our actions. This slipstream into our future offers hope and the potential for a brighter existence.

7. Veil and Shadow:

- The veil between the higher and lower realms, created from the Pythagorean Monochord, signifies the separation of matter and spirit.

As we innerstand and transcend this veil, we will see the shadow of matter for what it is—a projection that can be molded and transformed.

8. Outer Darkness:

- There exists a point of no return, where souls that do not align with the divine purpose will be cast into the outermost parts of the Outer Darkness.

This signifies a purification process, ensuring that only those in harmony with the higher vibrations continue to evolve.

Implementation for the Journey Ahead

1. Expand Consciousness:

- Engage in practices that expand your consciousness, such as meditation, astral projection, grounding, chi gong ! , healthy eating, clean water, and lucid dreaming.

These will help you navigate between realms and access higher knowledge.

2. Embrace Immortality:

- Reflect on the concept of immortality beyond the physical.

innerstand that your essence is eternal and that you are part of a larger, timeless existence.

3. Connect with Spirit Guides:

- Develop a relationship with your spirit guides through rituals, offerings, and communication.

They are here to assist you in your journey and provide insights from the unseen realms.

4. Develop Intuition:

- Strengthen your intuition through practices like scrying, or working with crystals.

This will help you perceive the subtle energies and messages from the spiritual world.

--The Collective Spiritual Consciousness

Corey Foggo

art: Inter-Dimensional Gate

Diego Andrade

[everlastingfable]

Who even is Mark Smeaton? *runs*

omg anon are you sure you wanna ask this?

short answer: he's a bard from the 1530s who was in king henry viii's court and at the age of 24-ish confessed to committing adultery with queen anne boleyn, leading to his execution as well as the execution of anne and four other lords in her circle. but he most likely lied

long answer: mark smeaton (last name probably originally smet or smedt) was from flanders and later moved to england. he was a commoner, and the people in the royal court did not let him forget that. he originally worked under cardinal wolsey teaching choir boys, but was later transferred to king henry's court in the early 1530s when henry was doing his church of england thing. mark was quoted to be a "very handsome young man", "one of the prettiest monochord players", and "the deftest dancer in the land"

very little is actually known about him, except that he was getting paid very well by the king and queen. in less than two years his yearly salary nearly doubled (going from modern day £750 to £1250), and that doesn't even include the bonuses he received from them. to the point where he was able to afford expensive horses, clothes, liveries, etc. the horses alone were worth more than three times his yearly salary. he supposedly also had land and servants of his own. he was the court's sugar baby and some lords hated his attempt to social climb

we know he received a manuscript of two poems from viscount rochford. inside is inscribed "this book is mine, george boleyn 1526" and underneath "a moy, m. marc sn" which directly translates "to me" but basically "mine"

he was a favorite of anne boleyn and was probably in love with her. his downfall started when he was standing outside of anne's apartment window looking sad. anne asked him what was wrong and he replied that it was "no matter" she then chastised him for wanting her to speak to him as if he's a nobleman. he's a commoner and he should be glad she's speaking to him at all. he replied "no, no, madam. a look sufficeth, thus fare you well."

this conversation was reported to thomas cromwell (the king's secretary) who invited mark to his house for "entertainment" but it was a ruse. no one knows exactly what happened that night. most sources say he was tortured. but the next day mark confessed to sleeping with the queen along with four other men, all of whom were part of her circle. mark was the only one of the five men to confess and plead guilty.

he probably lied as the dates he gave didn't match up. the days he said he slept with the queen, she was somewhere else entirely.

he and the four men were executed in tower hill. despite being a commoner, he was beheaded (the nobleman's death) instead of hung and quartered. supposedly for his cooperation with cromwell and his crew. he was the last of the men to get beheaded and was described to have stumbled back when he saw the bloody scaffold and said "masters, I pray you all pray for me, for I have deserved the death"

he was buried in the tower of london in either where the building for the crown jewels are being displayed or behind the chapel royal of st peter ad vincula

I think he's the most fascinating person to have ever existed and is the definition of "I'm here for a good time not a long time"

[trollsedits]

Okay, so you all know I did Brozone Headcanon of a Vietnamese troll speaker and give you a little bit of its history so I’ll be extending on it a bit more just because I love to share my culture with other people I don’t think I appreciate my culture enough because I live in the state

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Okay, again I was saying that there is a tribe in the trolls village so far away that no trolls has ever heard of it not even Queen Barb or

Queen Poppy has ever heard of them.

They are known as the V-pop trolls (Vietnamese pop trolls) but there's not just pop Vietnamese trolls there's also Vietnamese music genres that the trolls lived in V-pop village with the Viet pop trolls.. let me explain…

(Also this is just my Oc headcanon I did do my fullest research on this if you still want to learn more fill free to look them up)

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You have the Vietnamese Folk Music Trolls: They are extremely diverse just like the folk music trolls they can be classified by their melodies,instrument and much more

Then you have your Ca trù trolls: They are a popular folk music which have begun with a female (troll) singer who is charmed her enemy with her voice and they are also known as hát co đầu or hát nói their music is through storytelling and it comes from Northern part of V-pop village

The Chấu Văn Trolls: They also came from the northern part of V-pop village they are also a traditional folk music which combines with both singing and dancing their music are super poetry and they are combine with variety of instruments,rhythm,pauses and tempos

Ah Floyd’s favorite The cải lượng Trolls: they are a reformed theater is a form of modern folk opera in V-pop village they are blended together with classical music and modern spoke drama and did I mention they can be emotional 🥹 and they are from the southern Vietnamese folk music

Thế Quan họ trolls: They are also Vietnamese folk style music and is characterized by antiphonal nature with alternating groups of females (Trolls) and male (Trolls) singers issuing musical challenges and responses

Then you have the almost well known genres the V-pop just like K-pop Trolls: They are a abbreviation of Vietnamese pop music which it was from the 1990’s to present day many young trolls would listen to V-pop also their songs are in Vietnamese like rap and much more…

Than you have the Nhạc do Trolls: They are “called the red music” is kinda similar to V-pop but their music began soon after the beginning of the 20th century during the French colonial period their music is kinda upbeat (at least that what I think I only listen to it once)

—————-

So I have talked a little bit about the Vietnamese instrument so I decided to write down what instrument I think brozone + poppy & Viva would played…

—————

John Dory:

I could see him playing the đàn đày basically is a plucked lute with 3 strings with a trapezoid wooden body and a very long wooden neck w 10 rised frets

He could also Played the Dan Nguyen is a two-string southern guitar

Bruce:

I can see him playing both the Bamboo Flute and a Dan Ty La which is a Vietnamese traditional orchestra is a pear shaped like instrument which has twisted strings

Clay:

Although there’s plenty of Vietnamese traditional instruments I would see clay killing it at the đàn Tam thập lục it looks like a piano but no is a hammered dulcimer w 36 metal strings and it used in various Vietnamese music genres and drama as-well this instrument is similar to the Chinese version which is called a Yangqin

Floyd:

Being in his sensitive nature side he would crushed it at đàn bầu is a Vietnamese string instrument from the monochord zither is sounds so beautiful and calming it sometimes makes Floyd shed a tear of how smooth it sounds he would also play the bamboo flute

Branch:

That troll can play all sort of instrument but I personally think he would be good at playing the Zither it’s similar to the Dan bầu so any Vietnamese instrument you throw at him he can play it

Poppy:

She would be good at playing the Dan Ty la and also she could play the K’ni but she mostly loves to play the Dan Ty la b/c of how good it sounds

Viva:

She and clay would played the Dan tam thap luc together on their free time and she could also played the Dan bau and she’s learning how to play the Dan day

———————

V-POP trolls diets?

So many people would think we eat rice and fish and pho well there’s much more to just those stereotypes so is safe to assume their diets vary from different regions of V-pop village…

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Anyways there’s so much more I would like to talk about but is for another time anyways I hope you at least have some content of my oc headcanon I’ll probably talk about the fashion, Brozone +poppy and viva favorite Vietnamese food and the holiday they celebrate…

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If you want to request me anything just click on my profile and click on “Ask me anything!”

———————

Like + Follow are very much appreciated! ✨

[reginaldpatterson]

First day of Descendants Week 2024 @descendantsweek

The Little Prince and the Mad Scientist

What if, after the first trial year, Ben decided to open Auradon's school to all the children of villains? Among all the new villains, one in particular catches Chad's attention. However, the year doesn't really turn out the way he expected it to.

Today is a special day at Auradon. Last year, Ben invited three VKs to spend the year with them. It was a success, so he decides to give all VKs their chance and open the school to everyone. Chad is uncertain about this choice. He eventually grew fond of Jay and Carlos, but it was a gradual process and he still has reservations about whether it's wise. But Ben is the king and his best friend. The prince finds it difficult to trust him, but he still wants to.

Ben arranged a large event at the school for new students to provide all necessary resources and support for their adjustment. Similarly to how it happened with Mal, Evie, Jay, and Carlos one year before. However, since it is a school, those who feel the most at ease can consider attending classes. Not many VKs were expected anyway. Who would choose to attend class when they could just skip? Who would want to go to class when they can skip? Chad's first class is chemical and when he enters, there are already two new faces. A beautiful woman with long, shiny ginger hair wearing a red dress and a very gorgeous (oh wait no, Chad isn't thinking that! Maybe he is?) man with cold skin, white hair, icy blue eyes, and a stoic face. When the professor walks in, he asks the new students to say a few words about themselves. The man, who is tall and resembles a professional model, stands up with a casual appearance and attitude. Very cold and mysterious.

"Izkandar Askey, son of Yzma." He states simply in a very monochord voice. The girl stands up, she's way warmer, a little seductive in her attitude with her deep red lips, yet still simple and enigmatic, speaking very little. "Spinelle Medusa, daughter of Madame Medusa." The teacher appears slightly puzzled as he likely expected more words from the VKs. "Thanks for attempting my class, we will assess your progress in the program and determine next steps."

Upon hearing this, Spinelle chuckles lightly while Izkandar reacts with a cough. "What made you laugh Miss?" Spin grins in an amusing manner. "You're most likely the one who needs to catch up with that guy!" She gestures towards her friend. "We'll find out soon enough..." The professor responds. "Today, you will only be matched with a partner, and it's better for your assimilation to not stick together He shoots a meaningful glance at the VKs, but none of them seem to care much. Spinelle gives Izkandar an amused smile and wanders to look for a partner. Spinelle smiles at Izkandar in amusement before wandering off to find a partner. Due to unknown circumstances, Chad is the sole person left and must approach Izkandar, who is motionless and shows no interest in seeking a partner.

"Hi, seems we're together." Chad attempts to be friendly, but Izkandar barely acknowledges him, focused on his notebook. "I work alone." Chad breathes out heavily, already pissed. "Like it's a pleasure for me..." Sitting beside the newcomer, he doesn't have many options and attempts once more to engage in conversation. It's not like he's really interested in this class anyway.

"Why are you here, anyway?" once again, not a glance, but a brief, direct brief response. It's not going to be easy... "Science." Chad lets out another sigh. "Fine. No talking. So what?" Izkandar shrugs. "Working." However, Iz didn't bother paying attention to the experiment assigned for the class "Do you realize that you're not focusing on the right task, right?" And this time, Izkandar raises his head and gazes at him with eyes as shining as ice. Breathtaking. (No, not breathtaking at all, Chad is breathing perfectly right now!)

“Why would I do a basic experiment?" Chad looks at him in confusion, genuinely not understanding. Izkandar quickly resumes his own tasks while Chad becomes increasingly impatient. "Ok, I don't care if it's basic for you, now we are paired together and we're supposed to do this!" Although he doesn't value the class very much, the behavior of the white-haired man is really getting on his nerves. "So what? You can do this if you want. I'm not stopping you..." Like it's something Chad can manage by himself. "You never heard of teamwork?" Chad retorts. "Not my thing." Chad sighs again and sits back in his chair. Awesome. The new VK is completely self-centered. Chad vaguely takes the paper and starts reading it, looking puzzled as he struggles to fully understand it. The loud workings of his brain likely caused him to hear a sigh. "Let me guess, you can't do it?" Izkandar was pinching his nose. "Sorry, Mr. Genius, but not all of us master basic science like a pro!" He's really pissed. Izkandar lets out another sigh and inhales deeply. "I will regret that..." Closing his notebook, he then grasps the paper from the prince's outstretched hand. After reading it briefly, the scientist hands it back to Chad. "I'm not doing it." Chad gives him a curious look. "But I can help you."

Chad seems to be caught off guard by this sudden shift in behavior. This guy is very odd. He recomposes and straightens a bit. "Ok, fine." Chad offers a handshake. "I'm Chad, by the way. Chad Charming." Izkandar shows very little reaction and somewhat disregards the hand. "Great, a Little Prince." He doesn't sound thrilled, but everything he says seems very unemotional to this point Chad awkwardly retracts his hand and coughs, obviously upset by the tone. He already hates him. "And you're Izkandar, right?" He inquires. "What an excellent deduction as I mentioned that only a few minutes ago." He answers sarcastically, giving him a pointed look Chad can't quite define before returning to the vial he was working on. " You can call me Iz." He absentmindedly comments, making Chad feel strange.

Following that day, they continue to encounter each other occasionally. Chad acts like he doesn't like him, but let's be real: Iz is actually quite well-mannered for a VK. He always maintains good posture, looks classy in his purple suits, and has engaging conversations when he does speak. Overall, they aren't that different. Both of them appear as egocentric aristocrats with a tendency towards a slight superiority complex. But there is something else with Iz, or mostly with his friend, Spinelle. A caiman always tails her, almost like it's a dog. Although it may have been unsettling initially, no one appears to be bothered now. She has a crocodile at school. But it's okay, normal! Whatever! And the first time he saw him, Chad really freaked out.

It was on second day at school. Mister sciences over socialization is walking with was strolling with his friend when Chad passed by them, only to suddenly collide with the lockers and panic as he saw the damn caiman. The caiman gazes at him inquisitively, like he was making a fool of himself over a mouse. Spinelle thought it was funny, and even though she has a bit of a superior air, she doesn't seem too terrible. Not exactly super friendly, but not as oblivious as the stone-faced guy walking next to her who only notices the scene when he hears his friend. “What a brave Little Prince.” Iz answers and Spin playfully, even if kind of mockingly, back the prince up. “Come on Iz. Caesar can be a really impressive boy.” Iz shakes his head, but doesn’t seem more bothered. “If you say so…” He looks as said Caesar who gazes proudly at them, swelling his chest and almost wagging his tail. “You’re a good boy. Now go apologize the ‘Little Prince’ as Iz called him.” She discreetly gives her friend a look and a wink and he responds by rolling his eyes. Caesar reach for Chad who’s still paralysed. “Don’t! Get away! This… THIS IS A CROCODILE!” Spinelle chuckles slightly at that and Izkandar echoes what he said the day before. “Once more, such impressive deductive skills.” Spinelle turns to face him giving him an impressed look Chad can’t understand and Iz shrugs. Spinelle turns back to Chad. “He won’t eat your hand if it’s what you fear.” She reaches out her hand to him. “I’m Spin by the way, you just met Caesar, and I believe you already know the mad scientist behind me”. Iz appears to be ignoring everything around him, already focused on the book he is holding. Chad looks uncertain, glancing at both Iz and Caesar before finally taking Spin's hand. “Chad Charming.” He performs a polite bow in front of her.  “Nice to meet you. You probably guess we don’t know much Auradon Kids.” Spin adds and Chad gazes at Iz. “And I believe some of you have less social life than others.” Iz doesn't even look up from his book. “And some are convinced they don’t need any.” The red-haired jokes at her friend. “See you then ‘Little Prince’” she teases once more, departing with Izkandar as they walk away. He will never get over that stupid surname. He hates him.

However, after a week, Chad keeps complaining about, not the VKs, but about one specific VK. And really, Ben's not sure he can listen to one more story about the damn scientist, the pretty lady, and the crocodile. And Ben actually begins to feel a bit concerned for his friend.

"Ben, you don't understand! He drives me crazy! He keeps calling me 'Little Prince' and he's so cold, and he is very distant, never listening to me when I speak to him. He keeps fooling me and making fun of me! I hate him!" Chad rambles. "Chad, why are you still trying to talk to them if you hate them! And I'm not even sure he did that on purpose. From what you told me, he just reacts when you do something or say something... I don't get why you're so obsessed..." Chad goes all pink and scoffs offended. "Wh- I... I'm not obsessed! He- That’s his fault!" He stutters, not even sure what he's saying or why he's stuttering. " Why do you constantly bring them up? There are so many new students and VKs and honestly. Izkandar and Spinelle are far from being a problem. They both go to class; they don't bully other students..." Chad interrupts him. "What about me?!" Ben sighs. "I'm sorry, Chad... If you want, I'll get a look at them. But what do you expect me to do?". If he was honest, Chad wouldn’t 't call it bullying anyway. He mostly feels like he needs to ramble about it with his best friend, but he kind of forgot his best friend is really busy right now with all the changes. He sighs and nods. "Thanks, Ben." Ben pats his shoulder. "That's what are friends for. " And it feels nice.

Chad doesn't know yet, but he'll really need a friend because the VKs would soon not be his top concern anymore...

[taminoarticles]

— Tamino for Style Magazine Italia, June 2023 (x) (x)

Tamino returns to play in Italy: “The warmer the countries are, the warmer the audience"

The singer will perform at the Rocca Malatestiana in Cesena on July 4th and at the Spazio 211 in Turin on July 5th. "In Italy I always like to play," he says. But "in reality it scares me to meet too many people.” A true hero of introverts.

By Pier Andrea Canei June 15, 2023

The soundcheck is over, Alcatraz sold out, a thousand Milanese waiting to see the star of the evening: the Belgian-Egyptian singer Tamino. He relaxes behind the scenes, drinks green (tea) and wears black (Armani): like a 26-year-old prince of darkness. He has gentle manners, and a voice that vibrates on a broad spectrum. From the dark depths (the school is the one that goes from Leonard Cohen and Jacques Brel to Jeff Buckley and the alt-rock genre called “shoegaze”: emo tones, monochord guitars) to an angelic falsetto.

Soon, Tamino will go out there on stage and, without doing ballets or stepping on flowers, almost motionless except for when he holds his oud (a lute of the Arab tradition), he will attract attention. He is hieratic, with the charisma of a crusader of introverts, quiet people, and young romantic heroes; what allowed him to create a following that goes from [sic], (Colin Redwood [sic], former bassist of Radiohead, left Thom Yorke's group to follow him through studios and tours) up to the Arab world, from which it takes up sounds and instruments.

Tamino: Style's interview

Amir, the title of your first album and your middle name, means "prince" in Arabic. Were you raised as a little prince?

Well, I don't think so. Princes lead a very controlled life, lots of rules, discipline. I had a free childhood.

For the idea of calling you Tamino, like the young prince in Mozart's Magic Flute, we should thank your mother, Eva (de Pauw, anthropologist, hobby musician, passionate about cultures). What was it like growing up in Belgium?

Inspiring in many ways: lots of good art, music, art movements. From the Surrealism of René Magritte, to the music of Tom Barman's dEUS, a band that has opened many doors to the alternative scene. Then there are the negative sides in the social culture: in Belgium we tend not to value the potential of others... We are made like this, we like to see ourselves laying low, leveling ourselves up.

You realized this as soon as you finished compulsory school and left to study music in Holland.

It was an enlightening and difficult experience. From cool Antwerp designers to Amsterdam street style. Two hours by train and you land in another world. I wanted to shake off the provincial part of Belgium.

Habibi: I needed love

And your first hit song was born right in Amsterdam, in 2017: Habibi ... an Arabic and universal word of love.

You can say it to your loved one, to good friends, but also to a waiter: “Come here habibi, bring me a coffee”... Well, during the first days in Amsterdam I was depressed, very lonely, it was difficult to find human ties. I was looking for warmth, love: that piece came from there.

Of that vagueness that generates universality...

I think back to a title from the Talking Heads: Stop making sense. When you write lyrics for a song, you don't have to chase a precise meaning. Better ask yourself if your words convey the right feelings.

Typically Tamino: the yearning, the nostalgia. Songs like Indigo night: nocturnal, brooding, even melancholy. You recognise yourself in it?

I certainly tend to ruminate on things a lot. Too much...

An app to free yourself from the ego

And how do you free yourself from it?

Meditation helps. I also use a specific app, Waking Up: Beyond Meditation. Ten minutes a day is enough. It helps me to free myself from the ego, to feel myself a witness of thought, of consciousness. Simply necessary. More than diet or physical training.

Sahar, the title of the second and most recent album, means "at the crack of dawn."

For me it is already part of the past: the last words I sing are “before I step into darker days”...

That is: “Prima d'inoltrarmi in giorni più oscuri.”

I mean: before facing new torments, new struggles. What helps you grow is discomfort. That's the challenge. Never be afraid to step into the unknown.

Out of the comfort zone...

I like spending some time in New York. I stay out of my own comfort zone, it's not comfortable for me. And doing so inspires me.

Lone sailor

In the video for Sunflower, a duet with the singer Angèle, you have the air of a romantic hero. Do you want to act?

In that video I enjoyed interpreting, even without lines, this figure of the lonely sailor. This was an idea from the director. I've only done a little theater and at most a few sailing trips with friends.

Would you be a testimonial for a perfume?

Well, yes, under the right conditions... For example, a prestigious operation like the Bleu de Chanel campaign with Gaspard Ulliel, with that spot directed by Martin Scorsese.

A spot that stylises the clichés of a rock star life: glamorous places, flashes, meetings with crazy people...

In reality it scares me to meet too many people. I'm a very lonely guy. Even though I’m finding it easier and easier for me to make connections lately, I steer clear of glam dinners or events.

Then you spends the whole summer on the road

I have fun at festivals. My favourite is Into the Great Wide Open, on the island of Vlieland, Holland: 10,000 people, zero cars, music, love and kindness.

Your summer also includes two Italian stages.

I always like to play in Italy. The warmer the countries, the warmer the audience.

I live in Türkiye

Who knows in the Middle East, or in Africa.

We do the biggest lives in Turkey: crazy crowds. And Egypt is like coming home: you feel that for the people it is more than just a concert.

Your surname is famous in Egypt. Your grandfather Muharram Fouad was a musical star, your father started out as a performer.

It's like an Egyptian dynasty of music. A fun fact about me being a huge Lord of the Rings fan is that I've always felt like Aragorn, the legitimate heir to the Elven throne, who travels incognito. Nobody ever knows who he is. I felt like this growing up in Belgium. It was never talked about, nor was there much money, and that side of the family has only emerged now that I'm better known.

Who among the main names would you bring next to you at the festival of your dreams?

I don't even know if I would put myself among the top names... I'd like Anouar Brahem, Tunisian, master of the oud. And then something electronic, maybe the Aphex Twins. And I dream of working with Massive Attack.

Many festivals. But never a festive song?

I should write one first. But generally gloomy, tenebrous things come out to me.

Let's say you sing one happy song and save the world; which one do you choose?

I don't know if a happy song could save the world. Lou Reed's Walk on the Wild Side?

The height of happiness.A matter of feeling: a song can be sad in itself, but make you feel good. A glimmer of hope, an air of comfort. It can wrap you in emotions. Maybe you're sad, and that's okay: because you feel alive. A song full of life: well, for me it will always be a good song.

[dustedmagazine]

Dust Volume 9, Number 12

James Elkington

Last Dust of the year and, holy cow, next year will be a whole decade since we started.  We’re working with a bit of skeleton crew this time because of the holidays, but still managed to take in a broad spectrum of music, from famous novelists on holiday to monochord droners to surprisingly joyful takes on saudade.  Dusted writers who shrugged off Christmas shopping, wrapping and general festivity long enough to write included Jennifer Kelly, Bill Meyer, Ian Mathers and Bryon Hayes.  Happy new year and see you in 2024. 

Gabriel Birnbaum—Nightwater/all the dead do is dream (Western Vinyl)

Gabriel Birnbaum, leader of the indie band Wilder Maker and one-time saxophonist in the ethio-jazz Debo Band, started making music on a Tascam four-track during the pandemic. It was, at first, a way to keep busy, to keep the dread at bay, but it evolved into a regular meditative practice and, eventually, a public-facing recording project, now releasing on the esteemed Western Vinyl imprint. This second release under the Nightwater banner is, as all that history suggests, a serene and unruffled piece of work, using mostly synthetic textures but also incorporating some rougher, more organic sounds. “above a forest with a house that’s on fire” pulses with bright keyboard tones that blow up unexpectedly into dissonance periodically. It moves deliberately, placidly, from here to there, letting sustained tones linger over insistent cadences. “i ordered a beer that never came,” is a bit livelier, with claves-ish clicks and percolating guitar; it dances a bit and flares into jazzy bravado. Some of these cuts have a dream-like aura, like the child’s wind-up lullaby “through a gauntlet of moonlit junk” with its sliding, morphing guitar notes, arcing over bell-tone intricacies. This is an album that works best in darkness and calm; use it as background music and it will disappear.

Jennifer Kelly

Max Eastley / Terry Day / John Butcher—Angles of Enquiry (Confront)

It would be easy to focus on the personally and sonically idiosyncratic aspects of this recording. Given that it’s just one string on a block of wood Max Eastley’s monochord has a spectacularly flexible sound bank; sometimes he sounds like a Vietnamese dan bau, and other times like a reportable manufacturing safety incident. Terry Day’s drumming manages to combine a respect for space with a brisk harshness that keeps things on point; rumor has it that he was not enamored of the drumkit that was supplied to him, and there’s certainly no kindness in his audible touch. And John Butcher’s saxophone playing is, as usual, adroit and immaculately controlled while inhabiting a realm of sounds that others imitate at their peril. But what keeps me coming back to this humble CD-r, which is part of the Confront label’s Core series of new recordings of improvised music, is the way this music feels simultaneously sudden and proportional. The three minds that imagined this music are not only responsive improvisers, but a formidable compositional collective.

Bill Meyer

James Elkington—Me Neither (Important)

James Elkington is an exceptional guitar player, the top-of-list sideman for Wilco and Richard Thompson and an accomplished and fluid folk-indie songwriter, whose agile picking is matched by a sardonic lyrical wit. Me Neither showcases the former, but not the latter, in a series of 29 short, improvised pieces Elkington recorded during the pandemic. There is some lovely playing here in the brief but radiant “Today’s Dictation,” the Brit-folk pavane of “The Incredible Waist of Time,” the buzzy, squeaky urgency of “Where For Do I Run.” Indeed, these cuts are, to a one, rather beautiful for the one or two minutes in which they flare and die. Even, so the overall result is unsatisfying. It’s like making a meal out of happy hour hors d'oeuvres, each bite tasty and caloric, but fleeting.

Jennifer Kelly

Neil Gaiman and the FourPlay String Quartet—Signs of Life (Instrumental)

“Mobius Strip” is an intricate bit of musical machinery. Its pizzicato architecture meshes like sparking gears; its winding violin melody careens wildly over prickly structures. It neither recedes nor predominates over Neil Gaiman’s spoken word, fitting neatly in the spaces he leaves in a fascinating, ruminative story about the twisted paper ring that stands in for eternity. The piece is that most difficult of verbal maneuvers, the extended metaphor, which Gaiman sticks like a gymnast’s landing. His starts with Gaiman’s grandfather demonstrating how you can trace your finger along its surface, traveling from one side to the other without ever breaking contact. It becomes a way of looking at life, connection and the unexpected. As Gaiman concludes, “It’s the twist that brings you back where you started.” “Mobius Strip” is maybe the best and most impressive cut from Signs of Life, but not by much. Joan of Arc makes a disruptive reappearance in raucous, “The Problem with Saints,” while “Credo” recounts Gaiman’s free-thinking philosophy against the throb of mournful cello and viola. There are long extinct animals and barely remembered life turning points and a meditation on death, all spirited and inventive and absolutely without sentimentality. You will hear the words first—you can’t help it—but as you listen, you’ll also notice how well the music supports and nourishes the poetry.

The music on this disc comes from what was intended as a one-time collaboration between celebrated sci-fi/fantasy author Neil Gaiman and Australia’s hippest string quartet. The author’s knotty, reflective spoken word entwined with the FourPlay String Quartet’s spare, rhythmic accompaniment first for a commission at the Sydney Opera House’s Graphic Festival. It went so well that the artists recorded it, had it illustrated and released it as a book, e-book and CD—they have since performed it in New York and London. It is a marvelous piece of work, odd and unsettling, bent and beautiful. I’m not much novelists in rock bands, generally, but this is different.

Jennifer Kelly

Peppermint Moon—Pocket Dial Tears (Self-Released)

Peppermint Moon makes a jangly, mildly psychedelic power pop that might, in other decades, be regarded as Paisley underground. A one-man project of Colin Schitt, who also plays in El Radio Fantastique. Pocket Dial Tears works the tuneful, happy-sad vein of Anton Barbeau, the Lilys and the Young Fresh Fellows, with well-shaped melodies made for staring wistfully out of windows. “I Thought I Knew” lays yearning, reverberating surf guitar licks atop bittersweet, rain-through-sunshine verses; the song has a drifting, musing propulsion, its wry confessions and fiery guitar solos evoking Steve Wynn & the Miracle 3. “Day to Day” pivots more delicately on a music box melody, whammied guitar notes vibrating in the ether around the verse and a little bit of string romanticism swooping in at the interstices. “He She They” is maybe the best of the lot, a lament about being misunderstood spun out into baroque pop grandeur.

Jennifer Kelly

Polyorchard — scree/n (Trip Ticks Tapes)

scree/n is a single, multifaceted improvisation, recorded remotely by an illustrious crew and extending without break for an hour and 20 minutes. David Menestres solicited contributions from Gastr del Sol-into-Black Faurest mainstay David Grubbs, Exploding Star Orchestra’s Jeb Bishop on trombone and experimental saxophonists Laurent Estoppey and Catherine Sikora, a passel of experimental composers and out-there bassist Ollie Brice, then pieced them together in a composition that feels somewhat episodic but not incohesive. It starts in the frayed blowing, a saxophone tone split into two pieces, full of air. This whispery invocation fades, and then the music starts to dance then, another sax (or maybe the same one) kicking out in blowsy frolic, then settling to buzz again. Now a bit of percussion enters in, now a subdued screech of feedback builds in the background. Blasts of noise hammer through contemplative intervals of saxophone. A tune emerges and disappears into buzz and squawk and rumble. A roiling surf wave of noise that maybe comes from an acoustic bass played unconventionally squalls amid rattling knocks on wood. Still the sax persists in making a song out of things, fluttering and beckoning and flirting back at you over one shoulder as it saunters into the maw of things. At the half hour mark you begin to hear David Grubbs in lucid, lyrical chords, placed at wide intervals like wickets on a croquet course that the sax must thread through. Explosive noise erupts and just as suddenly recedes. Serene and unhurried, but somehow also full of sturm and howl, scree/n is a perfect metaphor for our age’s listless anxiety, our ceaseless striving to make sense and beauty out of accumulated sensory inputs.

Jennifer Kelly

Nicole Rampersaud — Saudade (Ansible Editions)

The Portuguese word saudade has no direct translation to English but evokes a complicated mixture of emotions: deep sorrow, wistfulness, longing for a past that brought joy. Toronto composer/improviser and trumpeter Nicole Rampersaud’s debut solo outing complicates matters in that it revels in moving forward and pushing against boundaries. Shards of digital noise hold equal weight to her trumpet intonations, raw breath, puckering and clucking. There’s an immensity at play as the elements interact. Multiple layers pile onto the fray that Rampersaud provokes, such that she conjures a nervous energy. The sparks fly, and her trumpet lines weave around the nests of glowing particles, hoping to avoid catching fire. Perhaps she’s avoiding her own sense of saudade by outpouring such rich and spirited compositions. Regardless, Rampersaud’s music mirrors the complex nature of the term, rather than the literal emotions that lie beneath it. It’s we listeners who end up reaping the benefits, so this writer isn’t complaining.

Bryon Hayes

Andreas Røysum Ensemble — Mysterier (Motvind)

Mysterier (in English, Mysteries) is the third album by Norwegian clarinetist Andreas Røysum’s biggish band, which is populated by musicians who lead or are members of other bands on the Motvind roster. The label’s name translates to Headwind, whose diverse endeavors present an art-as-activism stance, and the album covers depicts the ensemble tying up Uncle Sam and deposing the Monopoly Man whilst dressed in fairytale drag. The music is correspondingly defiant and optimistic, marshalling celebratory grooves, folk melodies and free-ish horn solos to fight the powers that be. Singer Sofie Tollefsbøl’s two turns at the microphone tip the balance towards an English folk vibe, and the grandeur attained by their arrangement of “Barbara Allen puts the rest of the album in the shade. But if Steeleye Span dancing with Organic Music Society at the  protest sounds like your vibe, you’ll want to hear the whole thing, which is available on download, vinyl, and green-faced, short-run compact disc.

Bill Meyer

Spanish Love Songs — No Joy (Pure Noise)

The emotional arc between Spanish Love Songs’ last album and this one can be summed up by going from “my bleak mind says it’s cheaper just to die” to “you're not a cautionary tale/so don't you vanish on me.” The sonic one, meanwhile, comes with the Springsteenian synth backing that accompanies the latter song. Dylan Slocum and the rest of the band are still grappling with oppression both economic (“Clean-Up Crew”) and spiritual (“Rapture Seeker”), and with existentially paralyzing levels of depression (“I’m Gonna Miss Everything,” “Middle of Nine”). But the hard-won perseverance they’ve developed has clearly stuck with them and grown in strength. No Joy is less singularly pummelling, but it more than makes up for it by seamlessly folding in the influence of the band’s new wave and Americana forebears. Just as the February 2020-released Brave Faces Everyone accidentally fit the rest of that extremely dark year perfectly, No Joy feels like the right record for 2023; harrowing, but in a different way.

Ian Mathers

Tacoma Park — What About a Collage? (self released)

You could excuse Carrboro, NC duo Tacoma Park if they’d decided to rest on their laurels for the rest of 2023. Their self-titled second album, released in April, could be fairly considered a triumph (it was here at Dusted, for one), the culmination of years of adjusting to a new, pandemic-related creative practice, which also generated a series of singles (which they collected this September). That’s a productive year. Instead, Ben Felton and John Harrison have given us all this 40-minute new single. The title probably refers more to their taste in album art than the nature of “What About a Collage?” itself, because this is a pretty focused journey. It starts out a little more on the bleepy-bloopy end of things before whisking the listener off to a space where it feels like Ash Ra Tempel is playing around with Mountains. Eventually the whole thing ends with some beautiful interplay between what sounds like synthesized woodwinds and some plangent guitar. Good to hear that their lengthy, labyrinthine album doesn’t appear to have come anywhere close to tapping out their creativity.

Ian Mathers

Trespass Trio Featuring Susana Santos Silva — Live In Oslo (Clean Feed)

This summit between the Swedish Trespass Trio and the commanding Portuguese trumpeter, Susana Santos Silva, was recorded in 2018 and released in 2023. While the date span might suggest that it’s release was instigated by COVID-time shelf-cleaning, it takes just a few seconds to hear that the quality of the music was not a factor in the delay. The trio, which comprises baritone/sopranino saxophonist Martin Küchen, bassist Per Zanussi, and drummer Raymond Strid, brings a sequence of flexible tunes that encompass the slow-motion dirges roiled with turbulent rhythmic undercurrents and instant, combustible exchanges. Santos is right there with them, darting and jabbing during the fiery moments and amplifying the tragedy of the slow passages. The set was only 32 minutes long, so that’s what you get, but it’s quite enough for music of such conviction. 

Bill Meyer

[anthony-layde]

monochord of Pythagoras

[shellyreef]

Experience the soothing, harmonious sounds of our expertly crafted feeltone monochords instruments, perfect for relaxation, meditation, and therapeutic practices.

[bodiesnminds-in-the-daylight]

Fabulous! Queen of cool!

Her name is Gui Zi, her tiktok name guizi_521

playing chinese instrument sanxianqin三弦琴 on zhongyuan festival (cr:JIn静思)

[everlastingfable]

(sorry if ive asked this before but) who exactly is smeaton? what do you like so much abt him?

omg thank you spoon I will go nuts 💖

so I briefly talked about who mark smeaton is here but basically he was a bard in 1530s england who confessed to adultery with the queen and got himself, the queen, and four other lords executed

as for why I like him, it's probably mostly because I'm not able to get enough information to satisfy my curiosity. he's an enigma. mark smeaton was a real living being. there's real facts about him, things he said, done, made, etc. but also he was a commoner so there's also so much about him that isn't known and probably will never be known because he wasn't important enough to make note of. like, aside from he's a "very handsome young man" and "one of the prettiest monochord players" I legitimately cannot find any description of what he looked like. not even his hair color

he's a bard. he could dance, play the lute, monochord, and many other medieval instruments I don't remember the name of. but while we have king henry viii's songs and poetry, we have absolutely nothing of mark's. well actually that's not entirely true, there is this sheet music that might've been mark's that he wrote for anne boleyn. the handwriting matches apparently? but it's not for certain

what was he like? the information we do have about him is from comments made by the lords etc that didn't like him. he was said to be arrogant which makes sense if he was getting a lot of attention from the royals, but how much is that actual arrogance and how much of it is lords and ladies getting pissed that he's trying to act like he's one of them and speak to them as equals? paper was expensive so it's very likely he never wrote down prose or poetry where we can know what he thought. we have nothing about what he thought everything we have is from other people's writings

there are times where I learn things about him and it makes me doubt if mark was ever a real person at all. how could someone so influential be so forgotten? he rarely gets mentioned in tudor history and when he does it's as one of the five men who were executed. the biggest mystery about him is how he was spending like two or three times his yearly salary. where was he getting the money? was he really receiving that much in bonuses from the king and queen? was he doing "favors" and getting extra money that way? we don't know! the accounting books for the five year time period he was employed at court were destroyed/lost (I am frothing at the mouth)

did you know queen mary (henry's first daughter) tried to start a rumor that queen elizabeth (yes that queen elizabeth and henry's second daughter) was actually the daughter of anne boleyn and mark smeaton? the way how he is both so involved and yet nonexistent drives me insane. I have so many questions about him and when I try to find answers I just end up with so many more questions. I know I could probably just make headcanons like I do with my fav fictional characters but mark was a real person. there's actually right and wrong answers but I don't know what they are! I need to time travel so I can study him like a bug I'm not kidding

and there's also the chance that my obsession with joey batey projected onto mark smeaton (he played him in the wolf hall/bring up the bodies stage play) who is depicted as such a little shit and sopping wet kitten in the books there's no way I wouldn't love him. like

(the cut off word was "tears") he's so pathetic I love him so much. he's the ultimate side character who I wish was in the story more because he'd actually be a really really good foil to thomas cromwell. they're both commoners who tried to social climb in henry's court, and cromwell was the one who basically set everything up and used mark to bring down anne boleyn and her circle. I didn't get a screenshot of this but in bring up the bodies someone asked cromwell why mark and he responded "I didn't like the way he looked at me" just that sentence and how well it shows that cromwell thinks of mark like he's a pesky fly I am so

there's also the fact that I cannot for the life of me find a recording of wolf hall and I know it's really unlikely that I'll ever find one because it's not a musical so this itch will never get satisfied. why don't you just watch the tv shows? because 1) it's not joey playing mark and 2) based on the gifs I've seen he's not pathetic enough he's too suave and charming

it's honestly just this inability to find enough information to satisfy me that's riling me up all the time. did you know in the wolf hall/bring up the bodies script book joey is the first one credited? I know it's because he's first alphabetically but man does it feel like salt in a wound when photos I can find of him in the play are like this

[spardhaschool]

musical eras and the evolution of piano music through the centuries | Spardha School Of Music

Step into the world of modern piano music, where boundaries are pushed and creativity thrives. From jazz influences to contemporary classical, the evolution of piano music continues. Join Spardha School of Music to explore diverse styles and expand your repertoire, embracing the innovation that shapes today’s musical landscape https://www.spardhaschoolofmusic.com/blog/musical-eras-and-the-evolution-of-piano-music-through-the-centuries

Western music history is divided into seven different eras. Medieval (1150- 1400), renaissance (1400-1600), baroque era (1600-1750), classical era (1750-1820), romantic Era (1820- 1900), modern era (1900 onwards) and postmodern (1900 onwards). 

These are divided based on many factors, but among them, the crucial ones are technology and materials available, philosophies, art, and historical events. In the case of the piano or the correct term, “piano forte”, the availability of technology and materials made an impact on the music written for the instrument. The earlier version of the instrument had limited usage of dynamics and it sounded more like a metallic plucked instrument like a harp or a lither. Thus the music in this period was written in a way that complemented the flaws of the instruments. 

The following passage will briefly discuss the different musical eras and the evolution of piano music.

Different Musical Eras and the Evolution of Piano Music

Initially, the Church led Western Music. Like most societies, music, art, and dance were primarily led by religion. Western music has its roots in the hymns and gospels. 

1. Renaissance Era

The beginnings of the piano came much later, taking inspiration from various percussive and string instruments. Some of the earlier versions of the pianos were the monochord, a simple instrument of one string in ancient Greece for tuning other instruments; and the polychord, a string instrument with multiple strings tuned to different pitches which were common during the medieval era. From the late period of the Renaissance, these instruments evolved further into a Clavichord and a Harpsichord.

2. Baroque Era

The piano forte music that is popularized in the current times, has its start during the baroque era with Johann Sebastien Bach leading as the prominent composer of this time. The other well-known composers were George Frederic Handel, Antonio Vivaldi, Henry Purcell, and Domenico Scarlatti. Bach’s Prelude in C major is a popular music of this period. Most piano beginners, after a few months into the lessons, can try this music. It is beautiful in its simple arrangements and gentle progressions. In fact, there is a saying that the Baroque era began and ended with Bach.

3. Classical Era: The Invention of Piano

Bartolomeo Cristofori is considered to be the inventor of the Piano in the early seventeenth century. His piano was the first that displayed a range of dynamics. Thus the name Piano forte, an instrument that can be soft and loud. 

With his pianos, Mozart was able to experiment with expressions whereas Beethoven dealt with the depths of emotions on the instrument. The music of the early Classical eras was similar to those in Baroque except there were more dynamic ranges which brought colors to the sounds and tones. And this is evident in Mozart’s or Haydn’s music as the structure and progression of notes are similar to those during the baroque but there is the availability of dynamics of piano and forte that allowed these composers to experiment, even within the rigidity and confines of rules of compositions as many composers had to abide by their patronage for their livelihood.

Later in the seventeenth century, Beethoven broke those confinements, be it in the rules of compositions or the performance.  He did not conform to the structure of the music, but rather the capability of the instrument. His temperamental personality shone in his music and as stated before, he used every bit of dynamic range possible, be it from pianississimo (ppp) to fortississimo (fff) with his sudden accented hit to gentle piano staccato. Though he lacked the patronage of nobility due to his eccentricities, he paved the way for composers like Chopin, Debussy, Ravel, and many more with aspirations to go beyond the limits of structures.

4. Romantic Era: Rise of Impressionism

This is evident in Chopin’s music, where his nocturnes displayed the ability of the piano to sound like a Harp. He was able to experiment with different sounds around us, be it other instruments or even animals, and interpret them on the piano. Similarly, Debussy and Ravel brought the impressionist painter Monet's art into music. They were inspired by different paintings of the time, including van Gogh’s Starry Night. In fact, Debussy, Satie, and Ravel were often called impressionists.

5. Modern Music

Finally, modern music is divided into two parts, modern and postmodern. By this time, musicians had the means and opportunities to travel around the world. Many of Debussy's works were inspired by the oriental scales during his travels to Asia. He also experimented with Rag style and Cake Walk. It is challenging to box music to a part of the world because by this time musicians from far and wide have taken their life experiences and journey in their music, be it Bartok’s influences of the Romanian Gypsies and countryside or Tschaikovsky’s inspiration from folk tales and songs. And of course, Scott Joplin was among the first African American musicians who drew the music works with his Ragtime and Cake Walks. 

6. Postmodern Music

The postmodern period paved the way for too many new genres like Jazz and Blues where there have been inspirations from the African and Caribbean beats or the Ragas of Hindustani music. Postmodern music burst the bubble of world music. Postmodern music has many genres and it is no longer confined to the instruments or structures of compositions, rather it has more to do with moods and emotions.

[dyzzzmar]

"Brama" Dyzzzma/ Kamil Kopowski.

Kredki, ołówek, kreda. Trochę poprawiony kontrast, bo telefon mi cykał słabe fotki.

Po głowie mi latał Alice in Chains - Grind i parę innych motywów, w tym okładka Velvet Underground z Loaded, albo Cream - White Room. Jedna z prac try low-have fun.

[Komnata serca I] Powyższy motyw "Guardian Cherbus From Eden", został stworzony już jakiś czas temu i jest dostępny na moim kanale pixabay - https://pixabay.com/pl/music/przygoda-guardian-cherubs-from-eden-142154/ .

Jak te życie zatacza kręgi swoją drogą... niemniej zorientowałem się jak dobry jest ten motyw dopiero przy natrafieniu na pewne dzieło Pachelbel'a - wykonywane fletem i smyczkami. Nie wiem czy wam też jest to dane, ale kiedy słucham tego czuje zawarte w tym istoty które Bóg postawił przed zamkniętym Edenem.

Pozdrawiam.

[Przypis] Wykorzystałem jakieś tam syntezatory dźwięku, jeden z instrumentów to monochord. [Komnata serca II] Spotkałem w sumie i nawet ostatnio i życiu, ciekawych ludzi. Ludzi którzy chcieliby obudować Eden, lub mówiąc ściślej z powrotem się do niego włamać. Jednak kto ma uszy do słuchania niech usłyszy- Jako że Biblia jest księgą duchową i treść należałoby rozumieć metafizycznie. Stan błogiego raju wewnątrz ducha został przed nami zamknięty przez Boga, nie ze złośliwości - lecz na podstawie czynów ludzkich, jako konsekwencja/reakcja, kiedy jabłko upadnie z drzewa- w konsekwencji spada w kierunku ciążenia grawitacji, gdy ludzie sprzeciwili się Bogu- sprowadzili na siebie grzech, to prosta reakcja. A widziałem wielu ludzi którzy bodaj narkotykami, używkami, stylem życia próbują wprowadzić swoją duszę w Eden, lecz ten rozdział księgi moi mili został już zamknięty, my zmierzamy do Apokalipsy.